Daily Dose Of Jazz…
Juini Booth was born Arthur Edward Booth on February 12, 1948 in Buffalo, New York. He began playing piano at about age eight, and switched to bass at 12. He worked with Chuck Mangione in his hometown before moving to New York City around 1966, where he played with Eddie Harris, Art Blakey, Sonny Simmons, Marzette Watts, Freddie Hubbard and Shelley Manne out in Hollywood through the end of the decade.
In the 70s Juini performed with Erroll Garner, Gary Bartz, Charles Brown, Tony Williams and McCoy Tyner and recorded with Larry Young, and with Takehiro Honda and Masabumi Kikuchi during a 1974 tour of Tokyo. He would spend a short period with Hamiett Bluiett, then resettle in Buffalo but worked with Chico Hamilton in Los Angeles and Junior Cook in New York. By the late 70s he played with Elvin Jones and Charles Tolliver.
From 1980 on, he played with Ernie Krivda in Cleveland, as well as locally in Buffalo. He recorded freelance with Beaver Harris, Steve Grossman, Joe Chambers, and Sun Ra among others and currently lives and works in New York City.
Double and electric bassist Juini Booth died on July 11, 2021 at the age of 73.
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JEREMY PELT & ENDEA OWENS
Jeremy Pelt, celebrated for his virtuosic trumpet playing and collaborations with legends like Roy Hargrove and Cassandra Wilson, draws on his extensive experience as a bandleader and composer to create music that is both thoughtful and bold. This richly textural, Afro-futuristic work is centered on the stories and mysticism of masks, examining the folklore surrounding them and the spiritual power they hold. Featuring vocalist Candice Hoyes, the piece takes on an operatic dimension, with the human voice heightening its drama, ritual, and emotional scope.
Endea Owens, a member of The Late Show with Stephen Colbert band and a Juilliard graduate who has worked with Wynton Marsalis, Jon Batiste, and Diana Ross, infuses her music with passion and purpose shaped by her Detroit roots and deep commitment to community. Her work incorporates vocalists as well as dance company Sekou McMiller + Friends, adding a powerful physical and visual layer that brings the music’s themes of ancestry, grounding, and resilience vividly to life. This composition draws from multiple genres, blending elements of R&B, Gospel, Blues, and beyond.
Jeremy Pelt’s Masks: The Folklore of the Mystics
Jeremy Pelt- trumpet/leader
Candice Hoyes- vocals
Jalen Baker- vibraphone & marimba
Misha Mendelenko- guitar
Lasse Corson- keyboards/piano
Leighton Harrell- bass
Jared Spears- drums
Marie-Ann Hedonia- synthesizer
Charlie Pelt – flute
Endea Owens
Endea Owens – Bass/leader
Irwin Hall – sax
Alphonso Horne – trumpet
Jeffery Miller – trombone
Keith Brown – piano, Fender Rhodes
CV Dashiell – drums
TBD – vocals
Tickets: $62.00 ~ $97.00 | February 20 & 21 @ 7:00pm
Tickets: $52.00 ~ $77.00 | February 21 @ 4:30pm
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Daily Dose Of Jazz…
Wade Legge was born on February 4, 1934 in Huntington, West Virginia. He played more bass than piano in his early years, and it was with the bass that Milt Jackson first noticed him, recommending Wade to Dizzy Gillespie. After hiring him, Gillespie moved him to piano and he remained a member of Gillespie’s ensemble until 1954. During his Dizzy years, Legge recorded a date in France as a trio session leader.
Following his tenure with Gillespie, Wade moved to New York City and freelanced there, playing in Johnny Richards’s orchestra, and sessions with Charles Mingus, Sonny Rollins, Milt Jackson, Joe Roland, Bill Hardman, Pepper Adams, Jimmy Knepper and Jimmy Cleveland.
Legge was one of three pianists recording as a member of the variously staffed Gryce/Byrd Jazz Lab Quintets in 1957 and appeared on more than 50 recordings before retiring to Buffalo in 1959. Jazz bassist and pianist Wade Legge died on August 15, 1963 in Buffalo, New York at the age of 29.
CHRISTIAN MCBRIDE & URSA MAJOR
World renowned bassist, composer, arranger, educator, and eight-time Grammy Award-winner, Christian McBride has been one of the most important and prolific figures in the jazz world for over 20 years. From jazz to R&B, and pop/rock and hip-hop/neo-soul to classical, Christian is one of the most acclaimed bassists of his generation, renowned for his bold, swinging style and robust sound. He has appeared on more than 300 recordings as a sideman, and is an eight-time Grammy Award winner, earning a 2016 GRAMMY Award for “Best Improvised Jazz Solo”, the only bassist to ever win at this category.
Christian McBride has worked with the best of the very best – James Brown, Herbie Hancock, Pat Metheny, Chaka Khan, Freddie Hubbard, Sonny Rollins, J.J. Johnson, Ray Brown, Milt Jackson, McCoy Tyner, Roy Haynes, Chick Corea, Isaac Hayes, Natalie Cole, Lalah Hathaway, Sting, Carly Simon, Don Henley, Bruce Hornsby, The Roots, D’Angelo & Queen Latifah. Christian has been artist-in-residence and artistic director with organizations such as Jazz Aspen, Los Angeles Philharmonic, The Jazz Museum in Harlem, Jazz House Kids, the New Jersey Performing Arts Center – Newark, the Montclair Jazz Festival, and the Newport Jazz Festival.
The Band:
Christian McBride ~ bass
Nicole Glover ~ saxophone
Ely Perlman ~ guitar
Michael King ~ piano
Savannah Harris ~ drums
Tickets: $45.00 ~ $55.00 +fees
Streaming: $20.00 +fees | %:00pm Show
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Daily Dose Of Jazz…
Tiny Winters: The Bassist Who Fooled Fans Into Thinking He Was Ella Fitzgerald
Frederick Gittens was born on January 24, 1909, in London, England, but the jazz world would come to know him by a name that became legendary in British jazz circles: Tiny Winters.
From Violin to the Bass That Swings
He learned violin as a child—a common enough beginning—but something about the double bass called to him. He made the switch and developed a pizzicato style directly inspired by the great New Orleans bassist Pops Foster, whose propulsive walking lines and rhythmic drive had helped define early jazz. Winters was absorbing American jazz from across the Atlantic and making it his own.
Rising Through Britain’s Jazz Scene
By the 1920s, he was already working with the Roy Fox Band, one of Britain’s premier dance orchestras. The 1930s brought collaboration with pianist and arranger Lew Stone, whose sophisticated arrangements were pushing British jazz toward new heights.
But here’s where Winters’ story gets delightfully unusual: he possessed an unusually high vocal range that he put to remarkable use covering Ella Fitzgerald hits. His falsetto was so convincing that he regularly received fan mail addressed to “Miss Tiny Winters.” Imagine the surprise of fans who showed up expecting a female vocalist and discovered a bassist with a four-octave range!
Becoming a Bandleader and Session Ace
Winters went on to play with the elegant Ray Noble, recorded with the great American tenor saxophonist Coleman Hawkins when he visited London, and began leading his own groups by 1936. With his reputation firmly established, he became a regular fixture at the fashionable Hatchett Club while freelancing as a sought-after session player in theatrical orchestras for major productions like Annie Get Your Gun and West Side Story.
Comedy, Television, and New Ventures
Later in his career, Winters played with cornetist Digby Fairweather in the Kettner’s Five, recorded with veteran saxophonist Benny Waters, and became both the bassist and featured comedian with trombonist George Chisholm in The Black and White Minstrel Show—a television variety program that showcased his versatility as an entertainer, not just a musician.
The Final Chapters
During the late 1980s, Winters led the Café Society Orchestra and his own Palm Court Trio, proving that age hadn’t diminished his passion for leading ensembles. He also found time to write his autobiography, cheekily titled It Took a Lot of Pluck—a perfect pun for a bassist whose fingers had plucked millions of notes over seven decades.
When he retired in the 1990s, he did so with honor: Winters was awarded the Freedom of the City of London, a historic recognition that acknowledged not just his musical contributions but his status as a beloved cultural figure.
A Life Well Lived
Bassist, vocalist, comedian, and bandleader Tiny Winters passed away on February 7, 1996, leaving behind a legacy that reminds us jazz wasn’t just an American export—it was reimagined, reinterpreted, and reinvigorated by musicians around the world who made it their own.
From fooling fans with his Ella Fitzgerald impersonations to holding down the bass in London’s finest orchestras for seventy years, Tiny Winters proved that sometimes the most interesting careers are the ones that refuse to fit into neat categories.
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